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1. Osmar Maderna8 days agoDescribed as In Maderna's own orchestra the piano itself becomes the 'singing' voice carrying the melody, the role a vocalist or a soloing bandoneón plays elsewhere.Osmar Maderna8 days agoDescribed as In Maderna's own orchestra the piano itself becomes the 'singing' voice carrying the melody, the role a vocalist or a soloing bandoneón plays elsewhere.
2. Roberto Chanel8 days agoDescribed as Chanel left Pugliese's orchestra in 1948 after the government banned the band from performing nationwide (Pugliese called it being 'borrado', erased) and policeRoberto Chanel8 days agoDescribed as Chanel left Pugliese's orchestra in 1948 after the government banned the band from performing nationwide (Pugliese called it being 'borrado', erased) and police
3. Lucio Demare8 days agoDescribed as Demare didn't record with his full orchestra in 1946, but made recordings in Cuba with his trio and singer Agustín Irusta while touring there.Lucio Demare8 days agoDescribed as Demare didn't record with his full orchestra in 1946, but made recordings in Cuba with his trio and singer Agustín Irusta while touring there.
4. Armando Laborde8 days agoDescribed as 1946 is, for Michael, the year Laborde was D'Arienzo's best singer, though good recordings of his voice had been nearly impossible to find outside Japan until tArmando Laborde8 days agoDescribed as 1946 is, for Michael, the year Laborde was D'Arienzo's best singer, though good recordings of his voice had been nearly impossible to find outside Japan until t
5. Alberto Castillo8 days agoDescribed as Castillo was tango's first soloist to really succeed as a solo singer apart from an orchestra, employing his own arrangers and singing some waltzes extremely faAlberto Castillo8 days agoDescribed as Castillo was tango's first soloist to really succeed as a solo singer apart from an orchestra, employing his own arrangers and singing some waltzes extremely fa
6. Alfredo De Angelis8 days agoDescribed as In 1946 people spoke of a tango 'big five' - the big four plus De Angelis - who was hugely popular with young people and families and had tango's most popular rAlfredo De Angelis8 days agoDescribed as In 1946 people spoke of a tango 'big five' - the big four plus De Angelis - who was hugely popular with young people and families and had tango's most popular r
7. Aníbal Troilo8 days agoDescribed as Michael rates 1947 and 1951 as Troilo's best years, but says the orchestra kept getting better through the 1940s generally, including 1946.Aníbal Troilo8 days agoDescribed as Michael rates 1947 and 1951 as Troilo's best years, but says the orchestra kept getting better through the 1940s generally, including 1946.
8. Rodolfo Biagi8 days agoDescribed as Biagi took the surprise element he had developed as D'Arienzo's pianist and applied it to his own orchestra as a whole, rather than featuring himself as a soloiRodolfo Biagi8 days agoDescribed as Biagi took the surprise element he had developed as D'Arienzo's pianist and applied it to his own orchestra as a whole, rather than featuring himself as a soloi
9. Francisco Canaro8 days agoDescribed as The arranger for Canaro's 1946-48 Nelly Omar sides isn't known for certain, though Michael suspects Mariano Mores, whose later solo-orchestra style these chartsFrancisco Canaro8 days agoDescribed as The arranger for Canaro's 1946-48 Nelly Omar sides isn't known for certain, though Michael suspects Mariano Mores, whose later solo-orchestra style these charts
10. Nelly Omar8 days agoDescribed as Nelly Omar made only about ten recordings with a tipica orchestra in her whole career, all with Canaro between 1946 and 1948.Nelly Omar8 days agoDescribed as Nelly Omar made only about ten recordings with a tipica orchestra in her whole career, all with Canaro between 1946 and 1948.
11. Carlos Di Sarli8 days agoDescribed as Alberto Durán was Di Sarli's only singer in 1946; Michael guesses Di Sarli simply hadn't found a second singer he liked, or vice versa.Carlos Di Sarli8 days agoDescribed as Alberto Durán was Di Sarli's only singer in 1946; Michael guesses Di Sarli simply hadn't found a second singer he liked, or vice versa.
12. Astor Piazzolla8 days agoDescribed as In 1946, having separated from singer Francisco Fiorentino, Piazzolla launched his own 'Típica,' an unusual band not organised around dancing.Astor Piazzolla8 days agoDescribed as In 1946, having separated from singer Francisco Fiorentino, Piazzolla launched his own 'Típica,' an unusual band not organised around dancing.
13. Orquesta Francini-Pontier8 days agoDescribed as Francini-Pontier and Osmar Maderna both split from Miguel Caló's orchestra at the end of 1944 but missed recording in 1945, so 1946 is their debut year.Orquesta Francini-Pontier8 days agoDescribed as Francini-Pontier and Osmar Maderna both split from Miguel Caló's orchestra at the end of 1944 but missed recording in 1945, so 1946 is their debut year.
14. Osvaldo Pugliese8 days agoDescribed as Pugliese finally recorded La Yumba in 1946 after preparing the piece for three years or more; it marks a turning point for the orchestra.Osvaldo Pugliese8 days agoDescribed as Pugliese finally recorded La Yumba in 1946 after preparing the piece for three years or more; it marks a turning point for the orchestra.
15. Recording 14438 days agoDescribed as A soft, subtle, lesser-known autumnal tango, 'heartbreakingly beautiful and not played enough.'Recording 14438 days agoDescribed as A soft, subtle, lesser-known autumnal tango, 'heartbreakingly beautiful and not played enough.'
16. Recording 142678 days agoDescribed as Chosen by Michael as the most lyrical Pugliese piece of 1946, the deliberate opposite of La Yumba.Recording 142678 days agoDescribed as Chosen by Michael as the most lyrical Pugliese piece of 1946, the deliberate opposite of La Yumba.
17. Recording 144768 days agoDescribed as Unusual for having Morán sing from the very first few seconds, with an unusually delicate opening for him.Recording 144768 days agoDescribed as Unusual for having Morán sing from the very first few seconds, with an unusually delicate opening for him.
18. Recording 79398 days agoDescribed as A lighter Canaro waltz played before the closing run of Pugliese and Troilo; the hosts admit the transfer quality isn't great.Recording 79398 days agoDescribed as A lighter Canaro waltz played before the closing run of Pugliese and Troilo; the hosts admit the transfer quality isn't great.
19. Recording 32548 days agoDescribed as Called the most essential Di Sarli-Durán track, with an amazingly strong arrastre comparable to Pugliese's attack on the beat.Recording 32548 days agoDescribed as Called the most essential Di Sarli-Durán track, with an amazingly strong arrastre comparable to Pugliese's attack on the beat.
20. Recording 35198 days agoDescribed as Called a neglected masterpiece that doesn't get played at milongas nearly often enough.Recording 35198 days agoDescribed as Called a neglected masterpiece that doesn't get played at milongas nearly often enough.
21. Recording 32658 days agoDescribed as Introduced as one everybody already knows, opening a run of several Di Sarli-Durán tracks.Recording 32658 days agoDescribed as Introduced as one everybody already knows, opening a run of several Di Sarli-Durán tracks.
22. Recording 32608 days agoDescribed as A later, less-played Di Sarli instrumental; praised for the left-hand piano and closing pizzicato.Recording 32608 days agoDescribed as A later, less-played Di Sarli instrumental; praised for the left-hand piano and closing pizzicato.
23. Recording 152268 days agoDescribed as The second Tanturi singer featured, after Ribó.Recording 152268 days agoDescribed as The second Tanturi singer featured, after Ribó.
24. Recording 153748 days agoDescribed as Tanturi's singers changed during the year, from Enrique Campos to Ribó and Roberto Videla; this is Ribó's turn.Recording 153748 days agoDescribed as Tanturi's singers changed during the year, from Enrique Campos to Ribó and Roberto Videla; this is Ribó's turn.
25. Recording 94208 days agoDescribed as Maderna's tango-orchestra arrangement of Rimsky-Korsakov's Flight of the Bumblebee, with the piano carrying the melody.Recording 94208 days agoDescribed as Maderna's tango-orchestra arrangement of Rimsky-Korsakov's Flight of the Bumblebee, with the piano carrying the melody.
26. Recording 10588 days agoDescribed as The last year Vargas recorded with D'Agostino; chosen partly to showcase D'Agostino's crystalline piano introduction.Recording 10588 days agoDescribed as The last year Vargas recorded with D'Agostino; chosen partly to showcase D'Agostino's crystalline piano introduction.
27. Recording 144998 days agoDescribed as A more lyrical Pugliese-Morán composition, paired with Demasiado Tarde as two important songs of the year.Recording 144998 days agoDescribed as A more lyrical Pugliese-Morán composition, paired with Demasiado Tarde as two important songs of the year.
28. Recording 144348 days agoDescribed as Noted for its 'drop' — a quiet opening before the piano's left hand kicks the whole arrangement into gear.Recording 144348 days agoDescribed as Noted for its 'drop' — a quiet opening before the piano's left hand kicks the whole arrangement into gear.
29. Recording 144258 days agoDescribed as Chanel's nasal street voice described as having class; one of his songs with Pugliese before he later quit the orchestra.Recording 144258 days agoDescribed as Chanel's nasal street voice described as having class; one of his songs with Pugliese before he later quit the orchestra.
30. Recording 143128 days agoDescribed as The defining recording of the year; Michael reads from his own book to describe its historic significance.Recording 143128 days agoDescribed as The defining recording of the year; Michael reads from his own book to describe its historic significance.